The worst song is probably the first one. As the album progresses, it just gets more and more fun. Mercy, Mercy, Mercy being the obvious highlight, a wonderful piece atributed by Adderley himself in the record to Joe Zawinul, my favorite pianist. Such a pleasant evening.

Hey I love Start It Up as the intro, and then Find a Way is an amazing beautiful song; even Da Booty is fun, melodic, and in true ATCQ style. There are some other good beats but it's very bloated even if you only count to track 15. 4 Moms and His Name Is Mutty Ranks could be the same track, and the album should have ended with The Love instead of Rock Rock Y'all. Good beats and bad decisions.

Like selling your soul to the devil even if it makes you able to rock a trumpet again. I like some of the tracks but Miles feels alone having to follow the beat this time.

Lo único que le falta es la versión en vivo de Té para 3 con el solo de Spinetta; nunca me gustó la versión acústica. Eso a un lado, sí, Canción animal es el mejor disco de Soda Stereo, con 10 canciones de 4 minutos para presumir una visión única de lo que el rock podía ser a comienzo de los 90. Cerati dios.

I could talk your ears off about Ostinato (Suite for Angela). It's a very eye-opening track considering Bitches Brew was probably his biggest inspiration. And though the track lets you know that, the concept, structure and soloing on top are totally unique. The rest of the record is slow, disfunctional and disjointed. The aesthetic is great but by side B I'm already wondering if finishing it or not.

Great tracks all around. I disagree that Moanin' is the best one because it's a little ugly and pales in comparison to the other Moanin' by Bobby Timmons (I thought it was gonna be a cover) but the rest of the album is energetic and very characteristic of Mingus' soulful-grumpy style. It's a nice sketch of his discography to show somebody for them to know what it is about while enjoying it.

A very beautiful establishment from an artist that contains him in his joy and his immense figure, while keeping him completely detatched from the hits he made. Not the most intense, or well-structured experienc out there, but you feel like you get to know some of him. It's a prototype of forthcoming albums in the 20th century.

Just a based album. All the songs are based. 8 songs, 42 minutes. You really can't argue with it.

Best Ye album. The first three songs hit you like cocaine, then a bunch of soulful beautiful melodies come in like in Roses, Addiction, Drive Slow, We Major. Even the short bridge titled 'My Way Home' is an amazing track that samples Gil Scott-Geron. His f*cking skits are better. I hated skits in The College Dropout and in general but here they were well spaced out and consistently engaging. The album is long, hilarious and entertaining. True honest to God beautiful music.

Sadly Mac Miller's best record, and I believed he would have outdone himself. It's a different color from everything he did in the past, with a quiet (mainly) singer-songwriter record, with a ton of great material. Circles, Blue World, Good News, Hand Me Downs, Surf...

Depends on what tracks you count: on this website is just Zombie + Mister Follow Follow. I disagree that Zombie is the only amazing feature about it, as I prefer the groove of Mister Follow Follow, even if the political message isn't as gripping. If you ask me about the version with Monkey Banana and Everything Scatter on side B the score would be 75; if you asked me about the 54-minute reissue my favorite track is no doubt the live performance of Mistake and the score goes up to 90.

The album is divided into side A having fast tracks and side B having slow tracks. Side A has some very catchy tunes including the title track, also Good Times and Another Saturday Night. Side B kicks off with A Change Is Gonna Come, one of my all time favorite songs of all time, just gorgeous, beautiful. Everything after that was not written by Cooke feels mundane and empty.

About as revolutionary as Bitches Brew, only bothered by its lack of popularity and it may come across as a more annoying record. But it's amazing, and super progressive, tracks blend into one another, it's chaos, it's madness. I don't see how I wouldn't love it.

I just don't enjoy Billie Holiday one as much as other singers in her prime. It's 40 minutes long and it feels like it's never going to finish.

A very bloated, angry mess. With some crazy interludes in the back end of the recordings. L.A. Blues is pretty much a nothing burger to end the record with the most puzzled look on your face. The whole record is a promise that never comes true.

I don't know if it was Herbie Hancock of Bill Cosby who said the original love-making album was Kind of Blue; how dull. This is the universal procreation album. In the cover you can tell he really needed some release. I think it's timeless, even if all the same again and again and again. The song Let's Get It On is fire, and then something like If I Should Die Tonight is very pretty too. Keep Gettin' It On is crazy, dude just couldn't stop.

It's a quick time with the Stones in their prime. One of their best and most underrated records. Tight, in 40 minutes you get a tone of classics and some personal favorites. To me Miss You, Some Girls and Beast of Burden are some highlights. I even enjoy Shattered.

Dated, repetitive. It feels like a very good sample of mediocre samba that you can give to a person to listen to in 30 minutes to be like 'okay I get it now'. It's an early record that you listen back after listening to more Jorge Ben and you realize this is what he was trying to get away from. You get some grooves you might like here and there and that's it, you don't remember much about it shortly after.

Mos Def trying somehing new. The sample in Supermagic is great, sets the record into a modern style of Afro/Islam aesthetics. Short record that feels well put together because of the many short songs. It ends with a punch, it's somewhat lukewarm and disappointing considering how much I adore Black on Both Sides. Anyway, somewhat of a surprise but still very uniform and non-threatening.

A collection of the least ballsy Beatles tracks of the late 60s, plus George Martin's discouraging and bland soundtrack for the film that didn't even feature the damn Beatls voicing them. Just an absent band. Then Abbey Road comes out and you're like 'yeah, Yellow Submarine is their worst album'.